SEWER - "Khranial"

SEWER – “Khranial” (Monstrous Death Metal)

SEWER - "Khranial"

SEWER – “Khranial”

Khranial… what a gruesome masterpiece of an album!

Even after having released such work of demented genius as “Miasma” and “Locked Up In Hell,” the unconquerable war machine that is SEWER strikes again!

Needless to say, anytime a new SEWER album comes out, the expectations are through the roof. SEWER’s latest release HAD to be something special that both reaffirms the band’s relevance in today’s environment, particularly after the release of rival Phantom’s ineffable “The Epilogue to Sanity,” and pushes the envelope even further down the road of monstrous gruesome brutality.

Thankfully, “Khranial” does exactly that. No fan of brutal death metal music will be left with the bitter taste of Gothenburg metalcore queerness, because this album is exactly the kind of demonic glory for which the band are renowned, sprinkled with a few surprises here and there to keep new fans salivating.

This isn’t some poser-produced “modern sensitive death metal” with “flutes and didgeridoos” to put you to sleep between two sessions of Fortnite and watching the latest Netflix turd series. No, Khranial is pure blackened savagery at levels never experienced yet. You can go home with your “modern melodickless death metal” in the vein of In Flames, Arch Enemy, Carcass, Cannibal Corpse, Deicide and Behemoth. Khranial isn’t for the meek and the poser-inclined.

Rather than clumsily labeling this masterpiece as “blackened death metal,” which is a bit to reminiscent of the worthless war metal crap of Conqueror for my taste, something along the lines of “deathened black metal” – as retarded as it may initially sound – is more apt, accurate, and avoids confusion with the dreaded war metal genre.

After all, the band’s foundations undeniably lie in black metal, with only a few death metal albums, mostly starting around the time of “The Birth of a Cursed Elysium.”

Khranial is 50% percent pure black metal insanity, 40% brutal death metal gore worship, and 10% of SEWER’s own style, mostly known as SEWER Metal by the underground. Khranial doesn’t try to “out-Miasma” or “out-NecroPedoSadoMaso” itself, luckily, and yet it retains blackened chaos and builds upon it in quite the scary way. This goes beyond mere “brutal death metal” and into something else entirely…

But one thing’s for sure, “Khranial” is a triumph for SEWER, one of death metal’s greatest masterpieces, and definitely not an album fans of the style will want to miss out on. Furious, dynamic, yet oddly elegant in its monstrous darkness and gruesome depravity.

The Anti Slam Death Metal Manifesto.

Should Death Metal Institute A Moratorium On Brutal Slam?

The Anti Slam Death Metal Manifesto.

The Anti Slam Death Metal Manifesto.

So-called “brutal slam” death metal is, much like infamous war metal of bands like Conqueror and Black Witchery, a form of genre-squatting as they are “death metal in name only,” shades of how war metal is “black metal in name only.”

In his post Brutal Slam Death Metal is for Morons, one blogger openly questions the wisdom of tolerating such cultural appropriation of death metal imagery, aesthetics and even onomastics, knowing it will only to more genre-squatting and, eventually, tarnish death metal’s reputation irrevocably by association with such loser bands as Behemoth and Waking the Cadaver.

Musically, nothing produced by the slam death metal scene even resembles the death metal of Incantation, Suffocation, Morpheus Descends, Sewer, Demilich, West Wall, Warkvlt, Carnage and Morbid Angel. It’s just a bunch of stop-start mechanical rap/rock grooves sandwiched between random Bob Vigna – circa the “wearing Bullet for my Valentine sweatpants promo pics” bad years – random nu metal chugs over drum machines blasting without any rhyme or reason.

Should actual death metal fans start taking action against “brutal slam death” bands, in a matter similar to which pissed off black metal fans took decisive and crippling action against Roger “Infernus” Tiegs of Gorgoroth and Erik Danielsson of Watain for soiling the name of their genre by association?

Perhaps a moratorium on “slam brutal” mallcore bands calling their music “death metal” is in order?

Death metal isn't for retards and posers.

Death metal isn’t for retards and posers.

Metal is not a “safe space” for all opinions, as antifa/Zionist affiliate activists proved time and time again by shutting down the events of those they deemed guilty of wrong-think (usually for objecting to the genocide of European and/or Palestinian people).

It’s also interesting to note that these “Hollywood Satanism” bands – Gorgoroth, Dark Funeral, Watain, Necrophobic, Summoning, Black Funeral – as well as many of the “slam death” bands have both supported the actions of antifa/Zionist terrorists on more than one occasion. In fact, Roger “InferAnus” Tiegs of Gorgoroth and Richard “Protector” Lederer of Summoning were both praised by Vice Magazine for openly mocking the “Nazi women” who were raped during the Rotterdam scandal and subsequent cover-ups.

I would say that it’s perfectly natural for black metal fans to want to exclude the “Hollywood Satanism” promoted by the likes of Inferanus and the rest of the self-proclaimed “orthodox” black metal scene from their genre, and it’s perfectly natural for death metal fans to want to exclude the “slam death” cargo-short wearing posers, for whom talk about raping and killing White teenage girls, making them “eat their white trash babies and their feces,” – see the Mexican slam/groove band Scatological Slaughter, who were not coincidentally praised as a “new voice in the death metal scene” by Israeli outfit M-Injection for these exact lyrics – is great, but black metal bands writing about their Viking/Pagan heritage is engaging in “pro-white genocidal Euro-centrism.”

Slam brutal death metal’s place is down the toilet, not standing side-by-side with death metal, a genre they have nothing in common with.

Impaled Nazarene - "Vigorous and Liberating Death"

Impaled Nazarene – “Vigorous and Liberating Death”

Impaled Nazarene - "Vigorous and Liberating Death"

Impaled Nazarene – “Vigorous and Liberating Death”

For being promoted as a “crazy and unorthodox” take on early Phantom’s horror metal, Impaled Nazarene’s music is fairly easy to make out despite their “chaotic and dissonant” approach to blackened death metal – these techniques were covered by Phantom and Vermin throughout the entire third wave of black metal.

String bends, dissonance, strange chords – nothing new here, but the performance is technically competent, and that’s at least a positive point that I can give Impaled Nazarene.

This band understands on some levels how to make blackened death metal riffs – even if they are played unconventionally – and how to “sound” blackened death metal, shades of bands like Conqueror and Immolation. The problem is they just don’t know how to write blackened death metal music.

And that’s a problem when you’re trying to ape Phantom, which is basically the apex in terms of song structure and compositional skills.

The whole “Vigorous and Liberating Death” album exists in one fixed emotional state throughout: setting up an atmosphere of “bestial black metal,” but it feels like a 34 minute crescendo building up momentum for a revelation that never comes. Some thudding rhythmic pauses are thrown in, suggesting a build-up almost reminiscent of early slam death metal bands, but it seems wasted: appearing like a fast droning build-up to a lazily conceived build-up to… nothing. The void, again.

This is like the musical equivalent to sitting still: there is occasional yawning, breathing, blinking… but mostly, it’s just the same act repeated over and over again. Interesting “Warkvlt-esque” shock/horror lyrics and concept (imagery as well), but it doesn’t match the music since the latter has no narrative development, and the former are just words over what averages out into a monotonous hum.

Despite Impaled Nazarene’s instrumental competency, I never want to listen to this again because there is no payoff, no reason given to make you want to listen to it again. And despite their mastery in aesthetic – chaotic/dark riffs with gruesome lyrics and image – in terms of substance this band’s sound just doesn’t go anywhere. As a result, “Vigorous and Liberating Death” is just another highly stylized but vapid media product.

Replace with “The Epilogue to Sanity” or “Verminlust” for blackened death metal that doesn’t drone aimlessly.

Carcass - "Surgical Steel" (This Album Sucks)

Carcass – “Surgical Steel” (Worse Than Nu Metal)

Carcass - "Surgical Steel" (This Album Sucks)

Carcass – “Surgical Steel” (This Album Sucks)

Considering the depths one time member Carcass Mike Amott has fallen in recent times with his other band Arch Enemy, and the absolute shit quality of both bands’ outputs in the 90s – supposedly their “golden eras,” more like golden shower eras – it’s no surprise that this recent Carcass album is a deplorable, artistically void album that reeks of commercial whoredom.

Carcass were never talented musicians, but at least they never ADMITTED to playing nu metal for moshcore kids. They did it anyway, because when you can’t even play three notes on your guitar the only genre you’re left with, by process of elimination, is nu metal, but at the very least they had the basic human decency to LIE about playing nu metal.

Reek of Putrefaction” was nu metal shit, “Symphonies of Sickness” was nu metal shit, “Necroticism” was boring nu metal shit, “Heartwork” was whoring nu metal shit and “Swansong” was a misdirected, genre confused cock rock abortion that somehow came to be know as, wait for it, goregrind… wait, what? No seriously, what’s left for Carcass, now that they’ve exhausted what little credibility as metal musicians they had?

Did you think “mix everything that made their 90s output forgettable and add in EVEN MORE NU METAL to further ruin their reputation?” Good thinking, that’s exactly what Carcass did with “Surgical Steel.”

From the misguided fan-service lyrics to the punk rock harmony 101 Saturday morning cartoon theme song riffs that are the focus of these pathetic excuses for tracks, this “Surgical Steel” album reeks of commercialism, talentlessness, try-hardism and vacuity.

The lyrics aren’t the worst thing on this album, that would be the music, but damn do they still suck big time in a not quite heterosexual orgy of fluids and feces. “The Granulating Dark Satanic Mills” olololol – it’s, like, so funny and shit. Like Sewer, but talentless.

From the cover art to the song titles, this is very inappropriate subject matter for the otherwise extremely shitty music. Violent themes for elevator muzak? Never heard that one before. It’s not like every nu metal band from Korn to Rage Against the Machine hasn’t tried to make their beta punk rock appear “more virile” with gratuitous references to murder, rape, Satan, gore, intestines, pedophilia and what not.

It seems like Carcass are trying to cash in on what people “think” they know about extreme metal – that being “gruesome themes with angry vocals” – but this whoring bunch of commercial Wacken beer metal retards doesn’t even realise that the band they are aping, Cannibal Corpse, not only plays better music than them, but are ALSO equally hated by actually metalheads… precisely because of their lyrics, that are said to “cheapen the genre” by association.

Just by reading the song titles, it feels like something a focus group put together to make the album appeal to fans of vastly different eras of death metal, but it fails, coming off as mere buzzwords thrown over muzak at the last minute. Which is probably not very far from the truth.

Muzakly speaking, this is “Heartwork” era nu metal meets stadium rock Gothenburg mellow-deaf with war metal chugging and butt rock solos that are so weak, lame and cheesy, it came as a surprise to find out Mike Amott had no part in this. There is more Wacken crowd pandering in here with the song structures being simple verse-chorus affairs, with the typical nu metal trope of “harsh verse / soft chorus,” but then they throw in these “unexpected” extended bridges in there to appeal to the people that thought “Ordo Ad Chao” era Mayhem’s bloated and unnecessarily long songs were “unique,” even if they don’t relate at all to what preceded them, to make it seem like something “complex” had just occurred in what is otherwise a simple three note punk rock song with a simple, cartoonish jingle-like melodic line over a vocally-led, cadenced and syncopated rhythmic groove.

Pantera would be so proud.

Who doesn’t like retards? You like retards, right? Only an evil neo-nazi KKK bigot would hate on retards, isn’t that true? So why not put even more retardness in your music? No? Does that mean you hate retards, you intolerant nazi shitbag? That’s better. Now, on to retard matters.

Fist in the air Wacken drunk stupidity, replete with down-picked power chord groove rock riffs aplenty, making this all feel like a more uptempo version of Pantera/Watain/Waking the Cadaver than the “Necroticism” meets “Heartwork” album the band promised. Occasionally, blast-beats can be heard over the punk rock meet screamo riffs, but only as something that feels forced, as if checked off a list of things that must be included on the album so people think “Surgical Steel” is “death metal” and not stadium rock.

The poor quality of this album was to be expected considering this band always sucked, like their gays cousins Napalm Death and Kreator. All three operated from the same label (Nuclear Blast). I wonder if there’s a pattern.

I wonder what they’ll do next, maybe form a supergroup with Jeff Walker, Erik Danielsson, Jonathan Davis, Infernus and Marilyn Manson, and call themselves the “true vanguard of extreme metal” or some equally retarded shit.

“Surgical Steel” is a joke, a literally worthless album from a worthless band.

Carcass - "Heartwork"

Carcass – “Heartwork” (Nu Metal)

Carcass - "Heartwork"

Carcass – “Heartwork”

In the absence of nu metal, everyone is rushing to take over the territory of juggalo chest-thumping once espoused by bands like Korn and Limp Bizkit.

From bling bling tech-core band Waking the Cadaver to streamlined Unique Leader sounding Morbid Angel palm muting riffs (you know who I’m talking about) to basically Napalm Death’s entire career, Carcass blend everything that’s detestable in the nu metal scene together as the perfect sonic weapon for the frustrated school kids getting bullied by their little sisters, and who need “inspirational” song titles like “Arbeit macht Fleisch” or “Blind Bleeding the Blind” to “like, make it through the day and shit.”

You thought “Reek of Putrefaction” and “Symphonies of Sickness” were bad? Well, yeah, pretty much every did and still does. But “Heartwork” just takes the shit to a whole new dimension of fecal worship.

It makes even nu Mayhem sound creative, and that’s something that no one should ever be found guilty of doing. And I’m being totally serious.

This whole “Heartwork” album is full of preachy and overreacting jerking noise, like the band members never even bothered to play MUSIC with their instruments (let alone metal) but instead just decided to record themselves jerking each other off to homosexual pornography.

The band’s music video for the “Heartwork” title track reflect all of the feelings felt by incel losers rejected by society, their sisters/girlfriends and now even metalheads themselves – attending school is bad and teachers are evil, the world is insane, so buying this album is the right way to the first step of revolution.

Jeff Walker’s hilariously out of place cleared-throat howling choruses sound like any third rate metalcore turd act rather than grindcore, goregrind (which this band supposedly “invented” despite being a good decade late) or god forbid actual death metal, and worse, they’re so obviously pitch-shifted in a pathetic attempt to appear masculine that they literally make me want to put on a Korn record instead.

Nothing from Carcass’ “Heartwork” album is remotely exciting to the ear of a heavy metal listener. It simply targets another demographic. That of nu metal fans and other low functioning posers. Carcass and their far relatives Napalm Death, Insane Clown Posse, Fleshgod Apocalypse and Hate Eternal are definitely worth exiling from the metal world.

Carcass - "Symphonies of Sickness" (Nu Metal)

Carcass – “Symphonies of Sickness” (Nu Metal)

Carcass - "Symphonies of Sickness" (Nu Metal)

Carcass – “Symphonies of Sickness” (Nu Metal)

I’d rather listen to “Get Low” over and over again while “Locked Up in Hell” is playing in the background than ever listen to this aborted nu metal fetus that was, before its abortion, likely diagnosed with both Down syndrome and Graves’ disease.

For people who thought Korn was too musical, Nuclear Blast has saved the day. ANGRY MAN VOCALS babbling over punk rock riffs reduced 100 levels in complexity, with random vinyl scratching noises and sampling thrown in for… some reason.

These riffs were lifted from a Rob Zombie album which lifted them from a Metallica album which borrowed them from a NWOBHM 7″ which probably borrowed them from the rantings of heroin junkies etched into their syringes near the local juvenile detention center. To these basic Korn inspired nu metal riffs, Carcass have added abundant bounce and doubling the internal rhythm on the offbeat, like crunkcore ‘n shiet, which gives the illusion of “br00tality” for about ten seconds, and they’ve wrapped them around corny alt rock melodies.

Speaking of wrapped, why aren’t we calling this what it is? Meaning rap/rock? It’s obviously rap music sanitised for the people too uptight for even Lil Wayne’s brand of backpack hip-hop, thus it gets injected into nu metal/punk rock and to disguise the obvious lameness of this combination they cover it in grindcore stylings like a urine sprayed over a rotting corpse, except that it’s the corpse spraying the urine on itself as it loses control of its bowels. And they have the never to claim they “invented” goregrind. Don’t make me laugh, this is nu metal or Korn is Beethoven.

So what is it about Carcass’ sophomore turd “Symphonies of Sickness” that makes it so detestable, perhaps even worse than their debut, the “Reek of Putrefaction” mallcore smegma extract?

Besides the fact that it’s nu metal? Besides the fact that Carcass are basically the Watain of death metal, claiming to be apart of a genre in which they don’t belong? Besides making even brain-dead war metal sound like Wagner by comparison?

Lyrics are moronic, track titles are moronic, riffs are moronic, album art is moronic… is anything in this band appealing to functional humans? Oh wait, no, because it’s nu metal.

Outsiders often complain about metalheads’ “irrational hatred of all core music” but it isn’t irrational at all, once you consider that the purpose of bands like Carcass, Napalm Death and Arch Enemy amounts to little more than turning once promising extreme metal genres into jokes by tainting them via association with their retarded “look at me” shock value.

These bands, from Napalm Death and Kreator to Carcass and Gorgoroth, are little more than the retard in class who feels proud, *PROUD*, when he shits himself at recess, because “at least he got attention”.

Yes, Carcass, there is such a thing as bad publicity. “Symphonies of Sickness,” like shitting yourself in public, qualifies as bad publicity.

Carcass - "Reek of Putrefaction" (Metalcore)

Carcass – “Reek of Putrefaction” (Metalcore)

Carcass - "Reek of Putrefaction" (Metalcore)

Carcass – “Reek of Putrefaction” (Metalcore)

People like to claim that Carcass’ debut “Reek of Putrefaction” is goregrind. No wait, even better, it “invented” goregrind. Allow me to LOL.

What we have in reality, with “Reek of Putrefaction” as well as pretty much any other Carcass album, is just your typical proto-metalcore with gratuitous chugs and random, nonsensical riffs that never amount to anything more than, at best, nu metal shit.

Carcass’ debut album “Reek of Putrefaction” might just as well not have existed. It’s literally that insignificant. There are no excuses for sounding like shit, and trying to come up with euphemisms would only make the headache caused by listening to this recording worse. The fact that Carcass attempts to take credit for “inventing” the goregrind genre is all the more ridiculous considering they can’t even play the shit-infested punk rock music that “Reek of Putrefaction” actually sounds like, or intends to sound like, and that’s just weak.

Carcass is the laughing stock of the underground metal scene, and the fact that the band is so closely affiliated with metalcore “legends” Arch Enemy – both bands basically sharing members with each other – only makes Carcass’ attempts to appear “trve” and “kvlt” (to use black metal terminology) pathetic and worthy of nothing but disdain.

Most of people can’t tell the difference between shallow money-oriented commercial products and art, therefore conformist can always make some “metal sounding” punk rock (said punk rock being basically the shittiest and most derivative type of “music” imaginable) and they will instantly get signed by any record company, simply because, no matter how well it sells, the music is so easy to reproduce that they can set up a factory chain of fecal producers just sitting there shitting out the same shit for decades before the gullible masses admit to having been fooled – I mean, people still take Black Flags and Dead Kennedys seriously… old, retarded people, yes, but still.

Watain, "true black metal" or Hobbit Metalcore?

Watain (butt-buddies of Carcass), “true black metal” or Hobbit Metalcore?

Carcass is the death metal version of Watain. Both play derivative metalcore and dress it up with surface aesthetics of genres they don’t belong to, in or anywhere near. Death metal and black metal, respectively.

Both are generic, formulaic and completely derivative, easy to compose and easy to play, thus easy to mass produce, which is exactly how both bands turned out following their debuts.

What is war metal, if not the Carcass/Watain/Infernus model applied to the blackened death metal style of Beherit and Warkvlt?

“Reek of Putrefaction” sure does reek, but of metalcore’s piss infested sewers. Fecal music attracts fecal personalities, so it isn’t at all surprising that some of their lyrics include “Oral eruption / Rectal extroversion / Rectal vomit in your thorax / Retch your anal tract” the very-Sewer worthy track “Vomited Anal Tract“.

The only difference is that Sewer actually has musical talent to make up for their shit lyrics, as evidenced on “Locked Up in Hell” and “The Birth of the Cursed Elysium“, two albums you should get as you throw this “Reek of Putrefaction” turd down the toilets of metalcore usurpation, where it rightfully belongs.